Painting is the last of ornamental applications and sometimes reflects the tradition of illusionisticpainting in which objects or figures acquire by perspective effect, the illusion of being real or tangible (Ataíde at St. Francis of Ouro Preto). paintings, like the case of Caetano Costa Coelho in the Church of the Third Order in Rio de Janeiro, which has spread to Minas Gerais.

First, however, called the first phase – 1720 to 1755 – the paintings were executed within frames, also called caissons, in the linings and walls, following the example of the mother churches of Tiradentes, Sabará and Pilar of Ouro Preto, and lining of the sacristy of the district of Cachoeira do Campo. Distinguish this phase the chinoiseries paintings of the chapel of Ó in Sabará. Such paintings executed with dark inksthe process of painting in the religious and civil buildings from the colonial period generally used local materials. For the painting of wooden parts, doors, etc, with resin-dye, were added linseed oil or castor oil and leather glue. The dyes were, commonly, vegetal origin, especially as required shades, indigo, saffron, cochineal, ipê-mulatto, annatto, etc (they were used by master Ataíde for the sculptures of the Steps of the Passion). relate just as iconography or theme every one performed independent.

Second Phase

The second phase, from 1755, is called the painting in perspective or illusionist, following the examples of churches of Bahia and Rio de Janeiro, such as those of Caetano da Costa Coelho. It is characterized by the use of vanishing point for designing architectural structures above the cymatium over the smooth planks linings of the naves and main chapels. Behind these designs that giving rise enlarge the real architecture, are placed the figures of half body, usually the doctors of the churches, saints of the brotherhoods and angels. In the center of the painting, called vision, is the main invocation of Our Lady in general. For the purpose of that studies, this period is divided into other three, being the first partygeneral layout of a building; form of distribution and articulation of space, so that it can identify a style (Aleijadinho used the curvy party especially in the Franciscan church of São João del Rey). A, developed in Diamantina, following the example of José Araújo Soares in the Third Carmelite Church (1758) of Diamantina, with quadrature painting also called trompe l’oeil. The Church of Our Lady of Mount Carmel in Diamantina has one of the most beautiful perspective painting ceilings in Minas Gerais, authored by main guard José Soares de Araújo, Portuguese of the city of Braga. Its linings are painted in illusionistic perspective of unmatched level, completing the magnificent internal decoration of the temple, accentuating the gildingsgold coating process in ornamental pieces, altarpieces, imaginary, etc (usually the master Ataíde gilded the works of Aleijadinho, such as the toilet of Carmo in Ouro Preto). of altarpieces and images. Due to the abundance of details, the work gains jewelery features, enhanced by the predominance of gray hue with gold highlights throughout the composition. The central painting of the main chapel contains the figurative representation of the Virgin delivering scapularsstrip of cloth that friars and nuns of certain religious orders bring pending the chest (carved with the Virgin of Mount Carmel in Ouro Preto and Sabará). to St. Simon Stock. The central vision of the nave tells the story of the rapture and ascent to heaven of Elijah in a chariot of fire, when dropping the mantle to Elisha, according to Carmelite iconography.

In Ouro Preto, in large curved lining, the painters did parapets above the cymatium with free paintings of the concept of architectural continuity as the chapel of Father Faria in Ouro Preto and the mother church of Cachoeira do Campo, work of Antônio Rodrigues Belo.

The third party has freer compositions and lighter hues such as the paintings of the master Ataíde. With a more fanciful architecture, the angelsornamental elements commonly used in altars and arches. The little ones are the cherubim and seraphim, archangels are the largest, as teenagers or young adults (in shutters and crownings the altars of almost all churches that Aleijadinho did). and saints are still behind the painted grandstands as well as the doctors of the Church and, in triumphal arches, angels and saints. Master Ataíde, from 1800, structured the feigned painting on powerful columns born just above the cymatium, interspersing triumphal arches with fanciful forms that support frayed rocaille framing the views. The most used shades are pink and blue as his greatest work of the Church of St. Francis in Ouro Preto (1802-5). In the center, the view imitating the meeting of the saints in heaven is always flanked by mulattoes angels forming a choir or orchestra, as seen at the mother churches of Itaverava and Santa Barbara. All master’s work was carried out in the first thirty years of the nineteenth century. Master Ataíde – incarnated – painted thirty-six of the sculptures of the Stepssmall chapel which houses sculptures or paintings depicting scenes from the Passion of Christ (chapels of the Steps of the Passion in Congonhas with the 64 sculptures). of the Passion of Aleijadinho in Congonhas and painted the monumental work of the lining of the Church of St. Francis in Ouro Preto, in addition to gild the main altarpiece and paint the barred imitating tilesglazed ware tile in the apparent face used for coating, waterproofing and decorative walls (imitation through Ataíde paintings in the Franciscan church of Ouro Preto; in the nineteenth century, in the Carmo of Ouro Preto). in the same church.

The party C, run on the same period of Ataíde master, has representatives of high caliber as Joaquim Gonçalves da Rocha (lining of the Carmo of Sabará) and Silvestre de Almeida Lopes, in the region of Diamantina, with beautiful rococoornamental style emerged in France during the reign of Louis XV (1710-1774) and characterized by the use of capricious curves, asymmetrical shapes and delicacy of decorative elements, such as stylized shells (rocailles), bonds, flowers, foliage, which tended a refined elegance; in Brazil last out neoclassicism (1816). frames surrounding the views. The sanctuary of Congonhas has a pictorial program within the church with wall paintings and linings of the nave and main chapelmajor chapel, where is the altar of a church..

The pictorial program of the churches also included barred in the main chapel imitating tiles, as in the third Franciscan church of Ouro Preto (Ataíde master), and the mother churches of Itaverava, Santa Bárbara (both by Ataíde), São João del Rei and the oldest in Sabará. In that mountainous region, only the third Carmelite church of Ouro Preto received tiles, since the other churches had only painted imitations.

Antônio Francisco Lisboa, Aleijadinho (1730/38 – 1814). Commemorative cartouche of the fundamental moments in the construction of the sanctuary. Entrance of the staircase of the prophets. Soapstone. Sanctuary of Congonhas, Minas Gerais, Brazil.

Antônio Francisco Lisboa, Aleijadinho (1730/38 – 1814). Commemorative cartouche of the fundamental moments in the construction of the sanctuary. Entrance of the staircase of the prophets. Soapstone. Sanctuary of Congonhas, Minas Gerais, Brazil.

Antônio Francisco Lisboa, Aleijadinho (1730/38 – 1814). Commemorative cartouche of the fundamental moments in the construction of the sanctuary. Entrance of the staircase of the prophets. Soapstone. Sanctuary of Congonhas, Minas Gerais, Brazil.